In our first comping study, we'll look at some chord voicings that center around the D, G, & B strings. These voicings will typically be your "go to" shapes for louder, more electrified styles. Similar to the Freddie Green style voicings, these shapes lend themselves to some nice tight voice leading moves on the higher strings.
Many of these shapes are built using only three notes, comprising multiple chords all using the same notes. For example, a chord that's built off the 6th fret of D and the 7th frets of the G & B strings could be either a Bb7#5/G# or an E9/G#—sharing the same key chord tones.
It's good to start looking for these different relationships, as it opens up lots of possibilities for re-harmonizing a 12 bar blues. It takes some thinking and analyzing at first, but after a while you begin to see patterns emerge that you can transpose and apply all over the neck.